See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

JOHN See also:

• JOHN PHILLIP (1817-1867)

PHILLIP (1817-1867)  , Scottish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• ABERDEEN
• ABERDEEN, GEORGE GORDON, 1ST EARL O (1637-1720)
• ABERDEEN, GEORGE HAMILTON GORDON, 4TH EARL

Aberdeen, See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland, on the 19th of See also:

• APRIL

April 1817 . His See also:

• FATHER

father, an old soldier, was in humble circumstances, and the son became an errand-boy to a tinsmith, and was then apprenticed to a painter and glazier . Having received some technical instruction from a See also:

• LOCAL

local artist named See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• MERCER (through Fr. mercier, from popular Lat. mercerius, a dealer, merx, merces, merchandise)

Mercer, he began, at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of about fifteen, to paint portraits . In 1834 he made a very brief visit to See also:

• LONDON

London . About this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he became assistant to See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• FORBES
• FORBES, ALEXANDER PENROSE (1817-1875)
• FORBES, ARCHIBALD (1838-1900)
• FORBES, DAVID (1828--1876)
• FORBES, DUNCAN
• FORBES, EDWARD (1815—1854)
• FORBES, JAMES DAVID (1809—1868)
• FORBES, SIR JOHN (1787—1861)

Forbes, an Aberdeen portrait-painter . He had already gained a valuable See also:

• PATRON

patron . Having been sent to repair a window in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

Major P . L . See also:

• GORDON
• GORDON, ADAM LINDSAY (1833—1870)
• GORDON, ALEXANDER (c. 1692—c. 1754)
• GORDON, CHARLES GEORGE (1833-'885)
• GORDON, LEON
• GORDON, LORD GEORGE (1751-1793)
• GORDON, PATRICK (1635–1699)
• GORDON, SIR JOHN WATSON (1788—1864)

Gordon, his See also:

• INTEREST

interest in the See also:

• WORKS

works of See also:

• ART

art in the house attracted the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of their owner . Gordon brought the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young artist under the See also:

• NOTICE

notice of See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord Panmure, who in 1836 sent him to London, promising to See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the cost of his art See also:

• EDUCATION

education . At first See also:

• PHILLIP, JOHN (1817-1867)

Phillip was placed under T . M .

Joy, but he soon entered the See also:

• SCHOOLS

schools of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . In 1839 he figured for the first time in the royal academy See also:

• EXHIBITION

exhibition with a portrait and a landscape, and in the following See also:

• YEAR

year he was represented by a more ambitious figure-picture of " See also:

• TASSO, TORQUATO (1544-1595)

Tasso in Disguise See also:

• RELATING

relating his Persecutions to his See also:

• SISTER

Sister." For the next ten years he supported himself mainly by See also:

• PORTRAITURE

portraiture and by See also:

• PAINTING

painting subjects of See also:

• NATIONAL

national incident, such as " Presbyterian Catechizing," " See also:

• BAPTISM

Baptism in Scotland," and the " Spaewife." His productions at this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, as well as his earlier subject-pictures, are reminiscent of the practice and methods of See also:

• WILKIE, SIR DAVID (1785–1841)

Wilkie and'the Scottish genre-painters of his time . In 1851 his See also:

• HEALTH

health showed signs of delicacy, and he went to See also:

• SPAIN
• SPAIN (Espana)

Spain in See also:

• SEARCH, or VISIT AND SEARCH

search of a warmer See also:

• CLIMATE

climate . He was brought See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face to face for the first time with the brilliant See also:

• SUNSHINE

sunshine and the splendid See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour of the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south, and it was in See also:

• COPING (from " cope," Lat. capa)

coping with these that he first manifested his See also:

• ARTISTIC

artistic individuality and finally displayed his full See also:

• POWERS, HIRAM (1805-1873)

powers . In the " See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

Letter-writer of See also:

• SEVILLE
• SEVILLE (Span. Sevilla, Lat. Ispalis or Hispalis, Moorish Ishbiliya)

Seville " (1854), commissioned by See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria at the See also:

• SUGGESTION

suggestion of See also:

• SIR

Sir See also:

• EDWIN, AEDUINI
• EDWIN, JOHN (1749–1790)

Edwin See also:

• LANDSEER, SIR EDWIN HENRY (1802-1873)

Landseer, the artist is struggling with new difficulties in the portrayal of unwonted splendours of colour and See also:

• LIGHT

light . In 1857 Phillip was elected an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate of the Royal Academy, and in 1859 a full member . In 1855 and in 186o further visits to Spain were made, and in each See also:

• CASE
• CASE, JOHN (d. 1600)

case the painter returned with fresh materials to be embodied with increasing See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power and subtlety in the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• SERIES (a Latin word from serere, to join)

series of works which won for him the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of " See also:

• SPANISH

Spanish Phillip." His highest point of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution is probably reached in " La Gloria " (1864) and a smaller single-figure painting of the same period entitled " El Cigarillo." These Spanish subjects were varied in '86o by a rendering of the See also:

• MARRIAGE

marriage of the princess royal with the See also:

• CROWN

crown See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• PRUSSIA
• PRUSSIA (Ger. Preussen; Lat. Borussia)

Prussia, executed by command of the queen, and in 1863 by a picture of the House of See also:

• COMMONS

Commons . During his last visit to Spain Phillip occupied himself in a careful study of the art of See also:

• VELAZQUEZ, DIEGO RODRIGUEZ DE SILVA Y (1599-166o)

Velazquez, and the copies which he made fetched large prices after his See also:

• DEATH

death, examples having been secured by the royal and the royal Scottish See also:

• ACADEMIES

academies: The year before his death he visited See also:

• ITALY
• ITALY (Italia)

Italy and devoted attention to the works of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian . The results of this study of the old masters are visible in such works as " La Loteria Nacional, " See also:

• LEFT

left uncompleted at his death . During this period he resided much in the See also:

• HIGHLANDS, THE

Highlands, and seemed to be returning to his first love for Scottish subjects, painting several national scenes, and planning others that were never completed . He died in London on the 27th of See also:

• FEBRUARY

February 1867 . His works were collected in the See also:

• INTERNATIONAL, THE

International Exhibition of '873, and many of them are engraved by T .

See also:

• OLDHAM
• OLDHAM, JOHN (1653–1683)
• OLDHAM, THOMAS (1816–1878)

Oldham See also:

• BARLOW, JOEL (1754-1812)
• BARLOW, PETER (1776-1862)
• BARLOW, SIR GEORGE HILARO (1762-1847)

Barlow . In addition to the paintings already specified the following are among the more important: " See also:

• LIFE

Life among the See also:

• GIPSIES, or GYPSIES

Gipsies of Seville " (1853), " El Paseo " (1855), " Collection of the See also:

• OFFERTORY (from the ecclesiastical Lat. offertorium, Fr. offertoire, a place to which offerings were brought)

Offertory in a Scotch See also:

• KIRK, SIR JOHN (1832- )

Kirk " (1855), " A Gipsy See also:

• WATER

Water-See also:

• CARRIER
• CARRIER, JEAN BAPTISTE (1956-1794)

carrier in Seville " (1855), " The See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

Prayer of Faith shall See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save the Sick " (1856), " The Dying Contrabandist " (1856), " The See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

Prison Window " (1857), " A Huff " (1859), " See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early Career of See also:

• MURILLO, BARTOLOME ESTEBAN (1617-1682)

Murillo " (1865), " A Chat See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the Brasero " (1866) .